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Berg’s “Wozzeck”

Berg’s “Wozzeck” Patricia Hall's new study of Alban Berg's Wozzeck is an important addition to the scholarship on what has long been established as one of the most important twentieth-century operas, with regular performances around the world, at least twenty-five recordings and videos now available, and an extensive literature in books and articles. In keeping with its inclusion in the Oxford University Press series Studies in Musical Genesis, Structure, and Interpretation, the book focuses on Berg's creative process as documented in the sketches and other source material for the opera. Hall has established herself as one of the leading scholars in the field of sketch studies, thanks to her earlier book A View of Berg's "Lulu" through the Autograph Sources (1996) and the Handbook to Twentieth-Century Musical Sketches (2004), which she coedited with Friedemann Sallis. Her Wozzeck book also illustrates the expanding purview of sketch studies in the last decade, as noted in the preface by series editor Malcolm Gillies, who writes of the "continuum from sketch to score and on to première . . . and the work's rich life even after the death of its composer" (vii). Though she does not evoke the term, Hall's approach is in http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Berg’s “Wozzeck”

Auner, J.
Journal of Music Theory , Volume 58 (1) – Mar 20, 2014
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Publisher
Duke University Press
Copyright
Copyright © Duke Univ Press
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-2413580
Publisher site
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Abstract

Patricia Hall's new study of Alban Berg's Wozzeck is an important addition to the scholarship on what has long been established as one of the most important twentieth-century operas, with regular performances around the world, at least twenty-five recordings and videos now available, and an extensive literature in books and articles. In keeping with its inclusion in the Oxford University Press series Studies in Musical Genesis, Structure, and Interpretation, the book focuses on Berg's creative process as documented in the sketches and other source material for the opera. Hall has established herself as one of the leading scholars in the field of sketch studies, thanks to her earlier book A View of Berg's "Lulu" through the Autograph Sources (1996) and the Handbook to Twentieth-Century Musical Sketches (2004), which she coedited with Friedemann Sallis. Her Wozzeck book also illustrates the expanding purview of sketch studies in the last decade, as noted in the preface by series editor Malcolm Gillies, who writes of the "continuum from sketch to score and on to première . . . and the work's rich life even after the death of its composer" (vii). Though she does not evoke the term, Hall's approach is in

Journal

Journal of Music Theory – Duke University Press

Published: Mar 20, 2014

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